Super – Nothing for Me
Nothing for Me centres on redefining the masculine/heterosexual dominance of modernist and not so modernist structures and spaces and present and realigns it with a sexual minority and citizens who would never have access to these forms of architecture. By utilizing the language of modernism that created clean, clinical spaces, free of interpretation, this photographic series counteract the seemingly accepted view of modernist design and continues my interest in how society continues to humanise modernist/minimalist theory and practice to reflect an interpretation of the individual relating to identity and sexuality.
The photographic works consist of images of my father in front of his house. These images were taken over various years starting in 2011 and is an ongoing project. Each image is juxtaposed with an image of famous modernist houses.
Glenn Walls. Le Corbusier designed nothing for me. Archival inkjet print. 2011 – 2020. Photographed on location in Australia.
Glenn Walls. Le Corbusier designed nothing for me. Archival inkjet print. 2013. Photographed on location at Le Corbusier Villa Savoye 1928, Poissy (near Paris), France
Glenn Walls. Harry Seidler designed nothing for me. Archival inkjet print. 2019. Photographed on location in Australia
Glenn Walls. Modernist architecture is a lie. Archival inkjet print. 2019. Photographed on location at Ludwig Mies van der Rohe & Lilly Reich, Barcelona Pavilion 1929, Barcelona Spain.
Glenn Walls. Robin Boyd designed nothing for me. Archival inkjet print. 2019. Photographed on location in Australia
Glenn Walls. Ludwig Mies van der Rohe designed nothing for me. Archival inkjet print. 2019. Ludwig Mies van der Rohe Farnsworth House 1949 – 51, Plano, Illinois United States.
Glenn Walls. A dollop of Modernism does everyone good. Archival inkjet print. 2019. Photographed on location at Melton, Victoria Australia
Glenn Walls. A dollop of social justice does everybody good. Archival inkjet print, 2017. Photographed on location at Palace of the Parliament 1984 -1997, Bucharest Romania.
Glenn Walls. A dollop of architectural madness does everyone no good. Archival inkjet print, 2017. Photographed on location at Palace of the Parliament 1984 -1997, Bucharest Romania.
Humanising
Glenn Walls. Humanising Le Corbusier. Plan Voisin for Paris. 2014
Le Corbusier (Charles-Édouard Jeanneret). Plan Voisin for Paris. 1925.
Glenn Walls. Humanising Le Corbusier. Plan Voisin for Paris. 2014 The Plan Voisin is a solution for the center of Paris, drawn between 1922 and 1925 by Le Corbusier. The plan for 1925 seems to be a direct transposition of the diagram of Contemporary City for three million drawn in 1922. Included are buildings available in a regular orthogonal grid occupying a very important part of the right bank of the Seine. The space is highly structured with two new traffic arteries pierced through the city, one on the east-west, the other on a north-south. Their role is not limited to the organization of Paris, as were the advances of Haussmann: they pass through the fortifications and the suburban area. They have the ambition to link the capital to the four corners of the country, the major French and European cities. The crossroads at the intersection of these two avenues is the center of the plan, the center of the city in central France. (http://densityatlas.org/casestudies/profile.php?id=99)
Glenn Walls - SUPER CREATIVE GRID 
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